The Santa Fe Opera announces new works for forthcoming seasons

Foto: Charles Mckay (copyright Ken Howard), David Daniels, Judith Weir.
Operas by Theodore Morrison, Judith Weir, Jennifer Higdon scheduled beginning 2013.

General Director Charles MacKay today announced that The Santa Fe Opera will present three new operas, one each season beginning 2013. His announcement, which comes at a time of economic hardship and retrenchment throughout the arts community, reaffirms The Santa Fe Opera’s 55-year tradition of leadership in presenting new operas and its ongoing commitment to the future of an indispensable art form. Two of the composers are women who represent the best of their generations, American Jennifer Higdon and Briton Judith Weir. The first commission, Oscar, based on the life of Oscar Wilde, is by Theodore Morrison, Professor of Music Emeritus at the University of Michigan. It will have its world premiere in 2013. The second is by the 2010 Pulitzer Prize winner in music, Jennifer Higdon. She will write an opera based on the bestselling novel, Cold Mountain, by Charles Frazier, for 2015. Both are first operas for the composers. The third new work will be the American premiere of Miss Fortune by Judith Weir. The opera was commissioned and given its first performances earlier this month at the Bregenz Festival and will travel to Covent Garden. The Santa Fe production will be a new one and is slated for the 2014 season. Weir’s prolific career encompasses music for voice, film, and orchestra, as well as five operas. Two of Weir’s earlier operas, A Night at the Chinese Opera in 1989 and Blond Eckbert in 1994, were given their American premieres at The Santa Fe Opera. Stars, Night, Music, her newest work for orchestra, organ and chorus, opened the 2011 First Night of the BBC Proms. Weir was recipient of the Queen’s Medal for Music in 2007.

“The Santa Fe Opera has an enviable record of presenting new works to the public,” said MacKay. “In the Company’s very first year it presented the world premiere of Marvin David Levy’s The Tower, followed the second year by its first commission, Carlisle Floyd’s Wuthering Heights. In total, the Company has done 9 commissions, 3 world premieres, and 44 American premieres, including operas by Richard Strauss, Alban Berg, Paul Hindemith, Leoš Janáček, Kaija Saariaho and Thomas Adès. It was the mission of founder John Crosby that the public be given opportunities to hear operatic repertory that might not be available anywhere else.” These are the first new operas to be commissioned under MacKay’s leadership. He became General Director in 2008. Oscar and Cold Mountain are co-commissions and co-productions with Opera Company of Philadelphia as part of its American Repertoire Program. It is hoped that this partnership can become a model for opera companies, making it more economical to bring new operas to the public. “The Santa Fe Opera is fortunate to have a dynamic partner, the Opera Company of Philadelphia, in the creation of Oscar and Cold Mountain,” said MacKay. “The pairing of a summer opera festival and an urban opera company offers an opportunity for both of us. I am pleased that this new collaboration has come about, and am looking forward to great things. “In difficult economic times, perhaps more than ever, it is important to reaffirm the importance of growth in our sector, and to give our audience exciting and engaging new experiences,” shared David Devan, General Director of the Opera Company of Philadelphia. “The opportunity to join with the esteemed Santa Fe Opera in realizing these goals ensures that a wide range of audiences in two distinctly different regions of the country will have the chance to experience the operas, hopefully as the first of many cities to produce them.”

Estimates for commissioning and co-production costs, which include the commission fees, preparation of the score, construction of scenery and costumes for each opera are $1.5 to $1.8 million. They will be shared between the two companies on a 60/40% basis with The Santa Fe Opera serving as the lead partner and fiscal agent. The commissions will be supported by the Wyncote Foundation of Philadelphia, The Santa Fe Opera’s General Director’s Premiere Fund, established in honor of former General Director Richard Gaddes, and gifts from individuals and other private foundations.

OSCAR - Theodore Morrison, composer; John Cox, librettist

Although Theodore Morrison began composing relatively late, he has won considerable acclaim. He is a respected composer of vocal works, numerous pieces for chamber ensembles and orchestras which have been performed world-wide. He is founder of the Baltimore Choral Arts Society which he led for sixteen seasons, becoming one of the most successful in the country. Among his orchestral works is a five movement symphony, War and Reconciliation, based on Civil War poems by Walt Whitman, for full orchestra, soloists and chorus. Famed stage director John Cox has been Morrison’s collaborator in the development of Oscar. He is the librettist and will be co-director of the production with Kevin Newbury. Cox has directed six productions for Santa Fe, the last one being Arabella in 1997. He began his professional career at Glyndebourne in 1959 and served as its Director of Productions throughout the 70s. During his long career he has been associated with virtually every important opera company in the world, as well as directing stage and television productions.

The role of Oscar Wilde will be sung by countertenor David Daniels, for whom the opera was written. Morrison and Daniels have collaborated before, in a song cycle entitled Chamber Music, based on poems by James Joyce which was performed by Daniels and Martin Katz throughout the U.S and in England. There has been no opera written about Oscar Wilde and while there are many baroque operas written for countertenor, there are few contemporary works. Daniels is currently singing the role of Roberto in Vivaldi’s Griselda in Santa Fe. Wilde’s last work, the poem The Ballad of Reading Gaol, describes his ordeal and the savagery of the prison system he endured. It was a source for the libretto, as were conversations, letters and documents spoken or written by his contemporaries. Characters in the opera include Wilde’s friend and supporter Ada Leverson (to be sung by Heidi Stober), Walt Whitman (to be sung by Dwayne Croft), and Frank Harris (sung by William Burden). Wilde’s lover, Lord Alfred (Bosie) Douglas, will be portrayed by a non-singing dancer.

COLD MOUNTAIN - Jennifer Higdon, composer; Gene Scheer, librettist

2015 marks the 150th anniversary of the end of the Civil War. Cold Mountain is Charles Frazier’s powerful account of one soldier, W. P. Inman, who deserts the Confederate army as the war is coming to an end and makes his way back to his home on Cold Mountain. The novel won the 1997 National Book Award and was made into a film in 2003. The film was nominated for seven Academy Awards. The Civil War has a special resonance for New Mexicans. The New Mexico Territory was the site of one of the final and westernmost battles of the Civil War, fought at nearby Glorieta Pass in 1862. Historians have called it a major event in the history of the Civil War. The village of Pecos is the site of an annual reenactment of the skirmish. Cold Mountain composer Jennifer Higdon is one of the most in-demand composers today. She was awarded the 2010 Pulitzer Prize in Music for her Violin Concerto and a Grammy the same year for her Percussion Concerto. blue cathedral, written in 2000, on the death of her brother, has become one of the most performed modern orchestral works. Her compositions have been performed by leading orchestras throughout the country and she has received commissions from numerous instrumental ensembles. The versatile American librettist and composer Gene Scheer is the librettist. Among his many projects are several with composer Jake Heggie, the latest being Moby Dick for the Dallas Opera which was premiered in 2010. He collaborated with Tobias Picker on two operas, An American Tragedy, premiered at the Metropolitan Opera, and Therese Raquin for the Dallas Opera. He has written songs for singers including Renée Fleming, Sylvia McNair and Stephanie Blythe, and a song cycle, Voices from World War II for Nathan Gunn.

Nathan Gunn, who will sing the role of W.P. Inman, is one of the country’s leading operatic baritones. He has performed in virtually every major opera house in the world and is admired as an interpreter of new works including operas by Tobias Picker, Daron Hagen, Andre Previn and Peter Eötvös. He collaborated with Gene Scheer on the opera An American Tragedy, and the song cycle Voices from World War II. Gunn is also a distinguished concert performer and recitalist. He appeared in the 1998 production of Berlioz’ Beatrice and Benedict and the following year in Strauss’ Ariadne auf Naxos in Santa Fe. He is currently Professor of Voice at the University of Illinois at Champaign-Urbana.

MISS FORTUNE - Judith Weir, composer, librettist

Miss Fortune is based on a Sicilian folk tale called Sfortuna. Composer Judith Weir, who often makes use of folk idioms, is her own librettist. She has updated the story to the 21st century making it a topical morality tale about the ups and downs of life and the inconsistencies of fate. The opera is enlivened by a group of acrobats called “Fates Gang.”

Las Bodas de Fígaro en el Teatro Real de Madrid

Foto: Javier del Real

Alicia Perris

Las Bodas de Fígaro. Teatro Real. Wolfang Amadeus Mozart. Reparto: N. Gunn, A. Dasch, A. Kurzak, P. Spagnoli, A. Marianelli, J. Fischer, R. Giménez, C. Chausson, E. Viana, M. Savastano y M. Sola. Director de escena: Emilio Sagi, Director musical: V.P. Pérez. 30 de mayo.

Beaumarchais era un escritor obligado, de culto, para todos los que estábamos vinculados a la cultura francesa en los institutos que enseñaban la lengua de Molière. Era una especie de héroe, mitad pirata, mitad correcaminos, hombre de mundo, que nos transportaba a las mejores alturas del debate social y político, cuando Francia se preparaba para el estallido de la Revolución Francesa. Un faro de su siglo. Las costumbres de aquellos tiempos, de un libertinaje que dejó patente Choderlos de Laclos en sus “Amistades peligrosas”, eran ligeras y liberales, casi desvergonzadas, sobre todo para los beneficiados de siempre: la aristocracia y una burguesía en ascenso que copiaba los patrones de conducta de la clase superior sin ruborizarse, pero sin permitir, lógicamente, que los integrantes de la sociedad menos favorecidos pudieran defender sus deseos y sus derechos. De estas “nimiedades” que hicieron historia habla o canta “Las Bodas de Fígaro” de Mozart, que acaba de reponerse en el Teatro Real, con una puesta en escena de Emilio Sagi, recordada por haberse visto el mismo montaje hace dos temporadas. Un revuelo de perfumes, luz y jardines andaluces para envolver la tragicomedia de la burla y la astucia de los criados frente a la superchería de los señores a la eterna búsqueda del goce gratuito y deshonesto.  Bien la ejecución de los papeles principales como Annette Dasch, Alessandra Marianelli o Pietro Spagnoli y muy bien ejecutada la labor de la soprano Aleksandra Kurzak en el rol de Susana, acompañada por unos secundarios muy eficaces y sólidos como Raúl Giménez, Enrique Viana o Carlos Chausson. La orquesta y el coro fueron in crescendo alcanzando un lucimiento más efectivo a medida que avanzaba la obra. No fue una noche memorable, pero el libreto de Lorenzo Da Ponte, la música mozartiana y el instinto primaveral que incentivaba los paladares de los asistentes la noche de autos, consiguió una soirée impregnada de sabor y de encanto. Mozart siempre es Mozart. Y se agradece y se disfruta.

From Mary Poppins to Magnolia Hawks-- Broadway star Ashley Brown to debut at Lyric Opera of Chicago in Lyric Opera premiere/new production of Show Boat

Soprano Ashley Brown, who originated the title role of the musical Mary Poppins on Broadway in 2006, will debut at Lyric Opera of Chicago as Magnolia Hawks in the company premiere of the classic American musical, Show Boat, Lyric’s general director William Mason announced today. Brown, who received Outer Critics Circle, Drama League, and Drama Desk nominations for best actress for Mary Poppins, also portrayed the airborne English nanny throughout the U. S. (including performances at Chicago’s Cadillac Theatre in 2009). She recently completed that tour in Los Angeles, where she earned a 2010 Garland Award for “Best Performance in a Musical.” Brown is now back on Broadway in her signature role through mid-July. She has also portrayed the leading role of Belle in Beauty and the Beast on Broadway and starred in the national tour of Disney’s On the Record jukebox musical. Brown has performed with many of the major orchestras in the U. S. including the Boston Pops (Keith Lockhart), the New York Philharmonic (Marvin Hamlisch), the Hollywood Bowl Orchestra (John Mauceri) at Disney Hall, the Pittsburgh Symphony opposite Shirley Jones (Marvin Hamlisch), the New York Pops (Steven Reineke) at Carnegie Hall (three times), the Fort Worth Symphony, the Cincinnati Pops (Erich Kunzel), the Indianapolis Symphony (Jack Everly three times), and the BBC orchestra opposite Josh Groban.  The New York Times cited Brown’s “sweet, melting ‘Somewhere Over the Rainbow’” as the “standout moment” in her most recent Carnegie Hall performance. The Cleveland Plain Dealer described Brown as “thrilling…astonishing…leave us much to remember.” And of Brown’s most recent solo concert with the Indianapolis Symphony, the Indianapolis Performing Arts Examiner declared her “sensational…the presence of a star who could one day join the ranks of White Way legends.” Brown earned her BFA degree in musical theater at Cincinnati College-Conservatory of Music.

Lyric Opera Premiere / New Production

SHOW BOAT / Jerome Kern (music) and Oscar Hammerstein II (book and lyrics)  (in English with projected English texts) 12 performances beginning at 7:30 p.m., except for matinees at 2:00 p.m.  Feb. 12 (mat), 13, 17, 18, 22, 25, 28, Mar. 1 (mat), 2 (mat), 7 (mat), 9, 17  Premiered on Broadway in 1927, Show Boat contains some of the best-loved songs of the 20th century, including “Old Man River,” “Bill,” “Can’t Help Lovin’ Dat Man,” and “You Are Love.” One of the most captivating visions of theatrical life ever presented on the American stage, this work blazed a trail for shows bridging the gap between opera and musical theater. Kern and Hammerstein were able to integrate songs into the drama as none of their musical-theater predecessors had done. The show boat of the title is the Cotton Blossom, depicted from 1880 up to the1920s. Magnolia Hawks (soprano Ashley Brown, debut), the daughter of Captain Andy (baritone Ross Lehman, debut) and his wife Parthy (mezzo-soprano Cindy Gold, debut), has a fine life on the show boat her parents operate, thanks to the affection of her friends – the stevedore Joe (bass Morris Robinson, debut), the cook Queenie (soprano Angela Renée Simpson, debut), the acting company’s leading lady, Julie La Verne (soprano Alyson Cambridge) and supporting cast members Ellie (soprano Erica Mac, debut) and Frank (baritone Bernie Yvon). Sheriff Vallon (John Lister, debut) learns that Julie, a mulatto, is illegally married to a white man, the company’s leading actor Steve Baker (James Farruggio, debut). After the couple leaves the show boat, their roles are given to Magnolia and a rakish gambler, Gaylord Ravenal (baritone Nathan Gunn). The two marry – despite Parthy’s objections – and settle in Chicago, where Ravenal’s luck runs out. Deeply ashamed, he leaves his wife and their daughter Kim (TBA). When Julie, now singing at Chicago’s Trocadero Club, overhears Magnolia auditioning there, she purposely sacrifices her position so that it can be Magnolia’s. On New Year’s Eve at the Trocadero, Magnolia sings and becomes a star.  Additional cast members include Brian McCaskill/debut, Renée Matthews/debut, and Tony DiFalco.  The production team includes stage director Francesca Zambello and conductor John DeMain, set designer Peter J. Davison, costume designer Paul Tazewell, lighting designer Mark McCullough, sound designer Mark Grey, and choreographer Michele Lynch (debut).

El Barbero de Sevilla – Los Ángeles Opera

Foto: Juan Diego Flórez Almaviva, Joyce Di Donato (Rosina)
Robert Millard / Los Ángeles

Ramón Jacques

La reposición en Los Ángeles del siempre ameno Barbero de Sevilla, se realizó con el marco escénico proveniente del Teatro Real de Madrid ideado por Emilio Sagi, como parte del convenio de intercambio de producciones entre ambos teatros. Para el montaje local de operas inspiradas en temas españoles (como: El Gato Montes de Manuel Penella, Luisa Fernanda de Moreno Torroba, y Carmen de Bizet) se ha recurrido al trabajo del director asturiano ya que nadie mejor que el sabe resaltar y plasmar en sus producciones el carácter, los matices y las tradiciones de su país. En esta ocasión, Sagi concibió una Sevilla moderna, luminosa y soleada (con radiante iluminación de Eduardo Bravo y funcionales escenografías de Llorenç Corbella), de pocos elementos, constantes bailes flamencos, y las edificaciones blancas típicas de Andalucía, así como el interior de un salón con un jardín al fondo. Los vestuarios de la argentina Renata Schussheim, principalmente en colores pastel para los protagonistas, y de tipo arlequín en blanco y negro para el resto de los cantantes y coro, complementaron una visión fresca y visualmente sugestiva para el espectador. La dirección escénica del regista español Javier Ulacia, fue discreta, ya que como es habitual en este tipo de obras, existe la innecesaria tendencia de forzar y exagerar la comicidad al máximo, cuando las obras de Rossini contienen per se una alegría original en la trama y la música. El problema es cuando los constantes gags, algunos sin sentido, incidieron en la fluidez musical de la opera, como en el aria de Rosina “Contra un cor” que fue interrumpida en varias ocasiones. La parte orquestal tuvo diversos resultados ya que si bien la conducción de Michele Mariotti fue segura, por evidente conocimiento del estilo y porque supo extraer armonía y musicalidad de la partitura, convenció poco en su elección de tiempos, que fue muy dinámica y jubilosa por momentos, y muy lenta en otros, que aunada a las interrupciones en escena hicieron un pesado primer acto de casi una hora con cincuenta minutos de duración.
El papel del Barbero fue interpretado por el barítono Nathan Gunn, quien mostró buenas cualidades vocales y correcta proyección, pero cuya actuación fue pálida, sin pericia y distante de la acción. A su vez, encantó la mezzosoprano Joyce Di Donato con su espiritosa y astuta Rosina que actuó con particular gracia y que cantó de manera esplendida con su suntuoso timbre, homogénea y segura voz, y un ágil despliegue en las coloraturas. Juan Diego Flórez, creó un divertido Almaviva, refinado en el timbre, en el fraseo y en la dicción, y coronó su desempeño con una escalofriante interpretación del aria “Cessa di piu resistere” que suscitó una entusiasta reacción. Bruno Praticò dominó el papel de Don Bartolo en canto y actuación, y el bajo Andrea Silvestrelli, fue un malicioso Don Basilio, muy potente en la emisión y la extensión de su voz, muy apropiada pare el repertorio wagneriano que frecuentemente interpreta, por lo que pareció fuera de estilo. Correcto el coro y resto del elenco, resaltando las cualidades del prometer barítono mexicano José Adán Pérez como Fiorello.

Il Barbiere di Siviglia – Los Ángeles Opera

Foto: Juan Diego Flores, Joyce Di Donato, Nathan Gunn
Crédito: Robert Millard / Los Ángeles Opera

Ramón Jacques

La ripropoposta a Los Ángeles del sempre divertente Barbiere di Siviglia è stata realizzata utilizzando l’allestimento ideato da Emilio Sagi e proveniente dal Teatro Real di Madrid come parte integrante dell’accordo di interscambio tra le due istituzioni musicali.
Per l’allestimento delle opere ispirate alla Spagna (El Gato Montes di Manuel Penella, Luisa Fernanda di Moreno Torroba, o Carmen di Bizet) si è ricorso nuovamente al lavoro del regista asturiano: nessuno meglio di lui sa plasmare e far risaltare nelle sue produzioni il carattere, le sfumature e le tradizioni del suo paese. In questa occasione Sagi ha concepito una Siviglia moderna, luminosa, assolata (con l’illuminazione brillante di Eduardo Bravo e le scene funzionali di Llorenç Corbella), con pochi elementi, ballerini di flamenco ed edifici bianchi tipici dell’Andalusia, così come di un salone con giardino sullo sfondo. I costumi di Renata Schussheim, di color pastello per i protagonisti, e tipo Arlecchino in bianco e nero per il resto della compagnia (coro compreso) completavano con freschezza e visualmente in modo suggestivo la scena.
La regia ripresa da Javier Ulacía, regista spagnolo, è parsa discreta, anche se, come è d’abitudine in questo tipo di opere, esiste la tendenza a forzare e ad esagerare la comicità (quando invece le trame rossiniane sono già di per sè briose). Il problema sorge quando le innumerevoli gags, alcune un po’ telefonate invero, incidono sulla fluidità musicale dell’opera, come nell’aria di Rosina “Contra un cor”, ad esempio, che è stata interrotta davvero troppe volte. Risultati alterni per la resa orchestrale.
La direzione di Michele Mariotti, sicura per evidente consapevolezza stilistica, ha convinto meno in relazione alla scelta dei tempi, a volte molto dinamica e giubilante, a volte lentissima (il che sommata alle interruzioni sceniche ha dilatato il primo atto fino a durare quasi un‘ora e cinquanta minuti).
Il ruolo di Figaro è stato interpretato dal baritono Nathan Gunn che ha messo in mostra buone qualità vocali e corretta proiezione, ma l’interpretazione è parsa pallida, carente di perizia e un po’ estranea all’azione. A sua volta, ha incantato Joyce Di Donato con la sua spiritosa e astuta Rosina, molto graziosa, di timbro splendido, omogeneo e sicurissima nella coloratura.
Juan Diego Flórez ha creato un divertententissimo Almaviva, raffinato nel timbro, nella dizione e nel fraseggio, che ha coronato la su prestazione con una stupefacente interpretazione di “Cessa di più resistere” che ha suscitato l’entusiasmo del pubblico. Bruno Praticò ha dominato il ruolo di Don Bartolo sia vocalmente che attorialmente e il basso Andrea Silvestrelli che è ormai un basso molto apprezzato nel circuito nordamericano dei teatri lirici. Ha interpretato un simpatico e malizioso Don Basilio, ben cantato nei suoi interventi, anche se la sua potentissima voce davvero imponente, ideale per il repertorio wagneriano nel quale si è imposto, non pare troppo adatta alla leggerezza del canto rossiniano. Corretto il coro e il resto del cast, con una citazione per il prottente baritono messicano José Adán Pérez nei panni di Fiorello.

La Flauta Magica en la Opera de Los Angeles

Fotos: Robert Millard

Ramón Jacques

La Flauta Mágica, obra compuesta por Mozart, recrea una obra llena de fantasía y misterio en un Egipto imaginario y en tiempo no determinado, lo que ha permitido a célebres registas y escenógrafos jugar y explorar diferentes posibilidades para crear novedosas alternativas escénicas, como lo es concretamente esta producción del diseñador Peter J. Hall y del caricaturista y dibujante Gerald Scarfe, ambos de nacionalidad inglesa, quienes han creado una propuesta ingeniosa en las que las escenas de la obra parecen una secuencia de escenas extraídas de un cómic. Las escenografías son sencillas pero contienen algunos decorados con motivos egipcios, elementos de la naturaleza como árboles, rocas, animales, etc. que dan la impresión de haber sido coloreados y dibujados por la mano de un niño. Los vestuarios coloridos y simpáticos, muy acordes con la propuesta. Cabe señalar la brillante iluminación, que jugó un papel importante para marcar los diferentes cambios de escena y diversos estados de ánimo de los personajes. Un recurso bien logrado fue la aparición de una cabeza monstruo en la primera escena de la ópera. En lo que respecta a la dirección escénica, es de agradecer que haya correspondió a Stanley M. Garner, regista cuyo origen se encuentra en el teatro. Por la cercanía geográfica que existe entre la Opera de Los Ángeles y los estudios cinematográficos de Hollywood, frecuentemente se han invitado directores cinematográficos con resultados poco alentadores, ya que sus ideas tienden a alterar, o en ocasiones a denigrar, las tramas operísticas. En ese sentido, la regia de Garner fue directa y concisa, y no incurrió en ningún momento en los gastados y recurrentes recursos vistos en los teatros norteamericanos cada vez que escenifican esta obra, en la que se pretende forzar la comicidad o caracterizar siempre al personaje de Papageno como un tonto o un bufón.

En lo vocal, destacó el Tamino del tenor Matthew Polenzani, quien exhibió un timbre lírico de desfachatada facilidad en la emisión de las notas agudas y mostró seguridad en la emisión. Su prestancia escénica fue satisfactoria. La soprano sueca, Marie Arnet, bordó una frágil y delicada Pamina, con una deslumbrante voz, alegre en su colorido y su tinte, pero de poca expansión y tamaño. La soprano Lubica Vargicoba, apostó por caracterizar una temperamental y expresiva Reina de la noche, pero pálida en lo vocal y carente del virtuosismo requerido en la coloratura de sus arias. La presencia del baritono alemán Mathias Goerne en el breve papel del orador fue un insólito, y quizás inexplicable, un lujo que el teatro en ocasiones quiere darse. Aun así, su participación puede calificarse como sobresaliente por su sólida presencia y seguridad vocal. Nathan Gunn, se mostró como un baritono de generosa emisión y buena grana vocal como Papageno, y Günther Groissböck fue un Sarastro de incisiva presencia escénica y penetrante voz. La conducción orquestal de James Conlon fue óptima, ya que extrajo armonía y musicalidad de su lectura, a la que le imprimió tiempos apropiados y dinamismo.